Economic and Social Impact Assessment of the Southbank Centre

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Economic and Social Impact Assessment of The Southbank Centre

A Final Report by Hatch August 2020

Southbank Centre

Economic and Social Impact Assessment of The Southbank Centre

August 2020 www.hatch.co.uk

Economic and Social Impact Assessment of The Southbank Centre

Contents Page

Executive Summary i

1. Purpose of the report 1 Our approach to the assessment 1

2. A Thriving Central London Arts Centre 3 Overview of the Southbank Centre 3 Strategic context for the report 4

3. Visitation and Societal Reach 7 Growing audience 8 Reach by geography 9 Digital audience 13

4. Economic Impact 15 Demand side 16 Supply side 21

5. Creativity through Diversity 22 Committing to arts for all 22 Widening access to the arts 23 Promoting a diverse artistic programme 26 Supportive workplace environment 27

6. Creative Learning for All 29 Cultural pathways to higher level skills 29 Schools and formal learning 30 Young adults 33 Adult & professional learning 35

7. Creative Health & Wellbeing 37 Bringing arts & culture into the health ecosystem 37 Enhancing community wellbeing 38 Bringing arts and health together 40

8. Placemaking and Partnerships 43

Economic and Social Impact Assessment of The Southbank Centre

Culture as a catalyst for inclusive growth 43 The Southbank Centre’s role in the South Bank 45

9. Investing in Art and Artists 51 A trusted partner in the sector 51 Working with artists 52 Working with institutions 54 Flexing institutional muscle 55

Economic and Social Impact Assessment of The Southbank Centre

Executive Summary i. Hatch Regeneris has been appointed to assess the economic and social contribution of the Southbank Centre at a local and national level. The assessment covers the wide range of ways through which the institution delivers wider economic and social value. ii. The infographic below sets out a selection of key facts and figures from the report. We then provide a summary of these points under each impact theme.

Economic and Social Impact Assessment of The Southbank Centre

The Southbank Centre’s Reach iii. The Southbank Centre has a wide reach geographically and amongst various audience groups, both as a visitor destination and through its growing digital programme.

• With 4.45 million visits in 2018, The Southbank Centre was the fifth most visited attraction in the whole of the UK: it received more visits than the Tower of London and Royal Albert Hall combined, and its visitors could fill Wembley stadium 50 times.

• 1 in every 33 UK residents attended the Southbank Centre in 2018/19, with visitors from all regions of the UK.

• Approximately 1 in every 7 Londoners visited the Southbank Centre in 2018/19. 1 in 6 visitors to booked events came from the local boroughs of Lambeth and Southwark.

• There is a growing body of evidence on wellbeing effects from engaging with the arts: we estimate that given its local reach, the Southbank Centre supports over £150 million in wellbeing value per annum for the UK

• Drawing 45% of its visits from overseas, the Southbank Centre is an important cultural tourism asset. Around 1 in 10 of all London’s international visitors went to the Southbank Centre, along with 1 in 3 cultural tourists.

• The Southbank Centre has significant digital reach: the website received 9 million visits in 2018/19, a 29% uplift on the previous year. 44% of visits were from other UK regions, and 16% were from overseas. Instagram engagement grew by 52%.

The Southbank Centre’s Economic Contribution iv. The Southbank Centre has a significant economic footprint in London and across the UK through its role as an employer, purchaser, and as a visitor attraction.

• Southbank supports 456 direct Full Time Equivalent (FTE) jobs across a range of front of house, administration, technical and curatorial/artistic roles. A further 50-100 jobs are supported within pop-up and other enterprises based on-site.

• Southbank spent £25m with 900 suppliers across the UK, with £15m spent with suppliers based in London, especially in the security, construction and the creative sectors.

• The core economic contribution of Southbank (ie direct, indirect and induced effects) is estimated at 970 FTE jobs and £30 million in Gross Value Added in London, growing to around 1,200 FTE jobs and £42 million in GVA across the UK.

• The spend of visitors off site supports significant economic activity in London and beyond. This is estimated at 7,400 net additional FTE jobs and £530m of GVA in

Economic and Social Impact Assessment of The Southbank Centre

London. For the UK, this additional expenditure supported 6,000 net additional FTE jobs and £440m in GVA.1

• For every direct job at the Southbank Centre, a further 2-2.5 are created in the regional and national economy, and 1 in every 11 jobs in London’s cultural tourism sector is supported by Southbank.

• Southbank delivers a series of supply side economic impacts through its work with artists, pop-us, and wider economic impacts from visitors. It plays an important role in the development of the arts and cultural sector, helping to promote enterprise, and pulling in visitors for the benefit of other nearby attractions.

Creativity through Diversity v. The Southbank Centre is committed to widening access to the arts for its audiences, local communities, and wider stakeholder groups. It currently delivers:

• At least 40% free programming each year.

• Strong recent performance in the past year on increased tickets held by over 65s (up 96%), BAME (up 23%), and new local audiences (up 15%). 24% of Southbank’s visits were made by BAME people in 2018/19, particularly high when compared to 15% across other London Association of Leading Visitor Attractions (ALVA) members.

• Diversity and Inclusion (D&I) workplace programmes, resulting in a 51% increase in BAME employees between 2013 and 2017.

Creative learning for all vi. The Southbank Centre delivers a creative learning programme for schools, young people and adults, as well as arts sector professionals, providing creative learning pathways to inspire long term interest in the arts and culture sector. It delivers:

• Strong engagement with primary, secondary and SEN schools, reaching 13,600 students in 2018/19. This included a c. 50% penetration rate in local primary schools, including through Arts Explorers, a three-year programme with 6 Lambeth primary schools.

• Engagement with school teachers, 250 of whom were engaged in the same year through programmes like the Creative Learning Lab, generating £515,000 of social value as a result.

• Partnership working through formal education partnerships, like the South Bank Partners group across British Film Institute (BFI), National Theatre and Rambert creative learning teams, and other local partners like the Lambeth and Southwark Music Services.

1 Note the UK figures on visitor economy impacts are lower here as they only take into account expenditure by visitors from overseas. Spend by UK residents is treated as displacement at the UK level.

iii

Economic and Social Impact Assessment of The Southbank Centre

• Programmes for young adults and adults. The adults programme delivers a series of evening and weekend courses for all adults, and professional development activities targeting art sector professionals as well as other adults. 2018/19 saw noteworthy growth across both groups, at 210% and 179% respectively, delivering over £2 million of social value that year.

• Ongoing involvement in a bespoke Masters level course, in collaboration with Kings College London, with an annual cohort of 26 students.

Creative health and wellbeing vii. The Southbank Centre is committed to demonstrating the important role of arts and culture in improving public health and wellbeing, and increasingly is acting as a sector leader and convener in this area. It delivers impact through:

• A community level programme of creative health activities including (B)old, a highly successful festival for older people that attracted 6,000 attendees in 2017 and which has led to a variety of ongoing projects. Southbank has created a new role to coordinate this area going forwards.

• Dedicated analysis of audience and visitor wellbeing, including HeARTs, a new partnership with the Royal College of Music to monitor this longitudinally. ALVA data from 2018/19 shows Southbank achieved a 2-6% uplift in wellbeing scores compared with all other London destinations.

• A strategic focus on proving, demonstrating and advocating the power of the arts to reduce social isolation and loneliness, and to influence UK policy across the health and arts sectors. Southbank held the first Creative Health Conference in 2019 with 700 attendees, and this year has been announced as the host for the National Academy of Social Prescribing in partnership with NHS England and other key players.

Placemaking and Partnerships viii. The Southbank Centre has played a pivotal role in the long-term regeneration of the South Bank since the 1950s, is a key member of the Cultural Quarter, and works with a range of local partners to invest in its continued development. The Southbank Centre:

• sits at the heart of the Cultural Quarter, along with the National Theatre and BFI

• is an active partner in South Bank Employers Group and a range of other forums and community groups promoting long term investment in the local area.

• invested £35m in major refurbishment of the Queen Elizabeth Hall, Hayward Gallery and Purcell Room, which were reopened in 2018.

• plays a critical role in the vibrancy of the area, with a total footfall on the site of 31.8 million in 2018/19, an 86% increase over 10 years

• has a public festivals programme which attracted an audience of 42,800 in 2018/19, delivering £235,000 of social value.

Economic and Social Impact Assessment of The Southbank Centre

• has 64 commercial partners on site including traders, pop-up enterprise, and retail, food and beverage outlets. Collectively these employ an estimated 400 people.

• has supported Long Live Southbank, a grass roots organisation set up to maintain and enhance the South Bank skate park. A joint crowdfunding campaign was run for the space, which gained support from the international skateboarding community, general public, businesses and philanthropists.

Investing in Art and Artists ix. The Southbank Centre generates a series of positive spillover benefits for the wider cultural and creative industries ecosystem, through its work with artists, support of other institutions, and its wider lobbying and policy influencing work:

• The Southbank Centre worked with over 100,000 artists and creatives in 2018/19.

• Its talent development work stretches from professional diversity programmes to community and youth groups in residence. For example, in 2018/19, five women conductors were supported through the Women’s Conducting Masterclass, delivering an estimated £10,000 of social value.

• The Southbank Centre manages the Arts Council Collection of loaned art works, and in 2018/19, over 1,650 works were shown in 126 different galleries and museums across the UK and internationally, reaching an audience of over 2.8 million people.

• The Hayward Gallery Touring programme held exhibitions at 80 other institutions across the UK in 2018/19.

• Southbank created a cross-organisation mentoring scheme in 2017, and last year had 80 participants from the Barbican, National Theatre, Royal Opera House, as well as Southbank.

Economic and Social Impact Assessment of The Southbank Centre

1. Purpose of the report

1.1 The Southbank Centre is the UK’s largest arts centre, operating on a global stage as well as playing an important role in the local, regional and national UK economy. It is one of the UK's top five visitor attractions, occupying a prominent riverside location that sits in the midst of London’s most vibrant cultural quarter on the South Bank of the Thames. 1.2 The Southbank Centre has commissioned this report to assess its economic and social contribution to London and the UK and, whilst not a formal cost-benefit assessment, it demonstrates the public value for money and the return on investment that the Southbank Centre delivers through various channels. Our approach to the assessment

Measuring economic and social value

1.3 The methodology for assessing economic and social value draws on the frameworks used by the Arts Council and DCMS, and is directly informed by a discussion with the Arts Council’s Economist to ensure consistency and robustness in the measurement approach. 1.4 As a part of the wider £145 billion2 cultural and creative industries in the UK, the Southbank generates a measurable contribution to the national economy in terms of GDP/GVA3 and jobs supported. This includes the value of the direct activities within its venues and the wider spillover effects on supply chains and the visitor economy. 1.5 At the same time, the Centre’s activities generate both economic and social value in other ways, including by supporting other parts of the creative industries, developing creative skills, engaging communities in the arts, educating children and adults and helping to drive local regeneration. Some of these effects can be valued in monetary terms – for example, through effects on subjective wellbeing. The report provides a valuation of these effects where feasible, whilst telling the story on these contributions, providing case studies, key facts and figures, and putting the contributions into their wider socio-economic context. 1.6 The assessment is informed by: • a data collection exercise, drawing on data held by the Southbank Centre as well as publicly available data • a thorough review of key activities and programmes within each thematic area of the report, drawing on available monitoring data, evaluation surveys, visitor feedback, and available case studies collated by the Southbank Centre • consultations with internal stakeholders within the Southbank Centre • targeted consultations with wider stakeholders including partners and policymakers 1.7 The report uses 2018/19 as the base year for the assessment, drawing on complete data for the year as well as avoiding discontinuities caused by the COVID-19 pandemic, which took hold in March 2020 and led to the temporary closure of the venues due to the national lockdown.

2 DCMS Sectors Economic Estimates 2018 3 GVA is the key measure of the value of economic activity at the level of an organisation, sector or region.

Economic and Social Impact Assessment of The Southbank Centre

1.8 As well as focussing on the local socio-economic contribution to London, the assessment picks up on the Southbank Centre’s national reach and wider spillover effects for the rest of the UK, for example through supply chain linkages, networks, and audiences. 1.9 Methodological details are provided in the Technical Appendix.

Coverage of the report

1.10 The report is split into sections, each of which explores a different aspect of the Southbank Centre’s economic and social contribution: • Chapter 2 – Thriving central London arts centre: an introductory chapter to introduce the Southbank Centre, and the context in which it is operating. • Chapter 3 – Visitation and societal reach: this chapter examines the Southbank Centre’s reach in terms of audiences at its venues and online, including their geographic and demographic characteristics. • Chapter 4 – Economic impact: the contribution made to the local and national economy as an employer and purchaser of local goods and services, and spillovers on the visitor economy • Chapter 5 – Creativity through diversity: the work carried out by the centre to promote wider access to arts and culture, both for a series of priority groups and across its wider audiences. • Chapter 6 – Creative learning for all: the work carried out by the centre to improve individuals’ and communities’ access to creative learning, skills and other opportunities in relation to arts and culture. • Chapter 7 – Creative health and wellbeing: the work carried out by the centre to engage with its local communities and promote positive benefits for a range of audience groups and those most in need. • Chapter 8 – Placemaking and partnerships: the work carried out by the centre to build and maintain a unique sense of place as part of the Southbank Cultural Quarter, and offer a hub which is open to all for a wide range of events and activities. • Chapter 9 – Investing in arts and artists: the work carried out by the centre to support and promote the continual development of artists and the arts in general, in an inclusive manner and which capitalises on its soft power to achieve global impact.

Economic and Social Impact Assessment of The Southbank Centre

2. A Thriving Central London Arts Centre Overview of the Southbank Centre 2.1 The Southbank Centre was created in 1951 when the Royal Festival Hall was built to celebrate the Festival of Britain, a national exhibition and fair placed in the bombed-out South Bank of the Thames to lift the spirits of post-War Britain. Today the area is thriving with arts and cultural activities, as home to the National Theatre, the British Film Institute and its IMAX cinema, Jubilee Gardens and the London Eye.

Figure 2-1: Map of the Southbank Centre buildings and location

Source: Southbank Centre website

2.2 The Southbank Centre is formed of four main venues:

• Royal Festival Hall – the first and biggest Southbank Centre venue including a 2,700- capacity auditorium, the Southbank Centre Shop, Riverside Terrace Cafe, Central Bar and Skylon restaurant, as well as the: - Clore Ballroom – a dancehall hosting public events and classes - Southbank Centre Archives – offers access to collections that contributed to the 20th century’s finest art, architecture and performances for special interest or research purposes - National Poetry Library – the most comprehensive collection of poetry in Britain with over 200,000 items, free membership and a free accessible postal service for people with sight difficulties • Hayward Gallery – a world-renowned contemporary art gallery, presenting a wide range of adventurous and influential artists from around the world • Queen Elizabeth Hall – a leading London venue showcasing world-class talks, gigs, dance, performance and classical music. Includes a 900-capacity auditorium and a foyer which hosts live music • Purcell Room – an intimate, 295 seat venue set within Queen Elizabeth Hall and hosting music and performance, screenings, poetry readings and a variety of talks and debates

Economic and Social Impact Assessment of The Southbank Centre

Figure 2-2: Queen Elizabeth Hall (left) and Royal Festival Hall (right)

Source: Southbank Centre website

2.3 The Southbank Centre is principally funded by Arts Council England, with an £18.6 million grant in 2018/19, representing around 37% of its income – see below.

Figure 2-3: Breakdown of Southbank Centre Funding

Source: Southbank Centre Annual Report

Strategic context for the report

Recognising the role of the arts and cultural sector in the UK

2.4 The UK’s cultural and creative industries are a very significant part of the British economy. The creative and cultural sector contributes around £144bn in Gross Value Added (GVA),

Economic and Social Impact Assessment of The Southbank Centre

over 7% of the economy4. As a result, the sector has a significant influence on economic and social prosperity and is widely acknowledged as a strategic opportunity to improve health and wellbeing, education and skills development, employability and wider life opportunities, as well as to enrich our sense of place, identity and community. 2.5 The fastest growing cluster of cultural and creative activities in the UK is found in London: using DCMS’s definition of the sector, the capital generates more than 39% of GVA in the creative industries.5 Four out of five tourists to London cite “culture” as the major reason for their visit, and these visits support 80,000 jobs and £3.2 billion in GVA in the capital.

The Southbank Centre as a cornerstone of UK arts and culture

2.6 The Southbank Centre plays an important role in supporting and encouraging continued innovation and artistic excellence, as well as best practice in societal impact and outreach. The centre’s strategic approach is founded on ambitious and inclusive values and it seeks to deliver high quality programmes and products for its visitors and audiences, and to find ways to innovate to attract and draw in new and diverse visitors. 2.7 This is achieved through a combination of thoughtful programming, the considered selection of artists, a broad events offer, and established community outreach work. As part of this outreach work, Southbank has developed a variety of innovative activities and participation opportunities to promote learning and health and wellbeing benefits, adding value to its cultural arts function. 2.8 The Southbank Centre’s strategic approach is reflected in a ‘Pillars and Petals’ framework, as shown in Figure 2-4 below: • the pillars represent the Southbank Centre’s institutional values

◼ Investing in Art and Artists – Southbank’s innovative programme blend ensures the variety of its offer, whilst its nurturing of new artists and emerging talent opens up opportunities for careers in the arts to new groups.

◼ Putting audiences at its heart – the creative learning offer demonstrates the value of arts and cultural engagement at a young age and throughout life, whilst considerable outreach work engages a diverse set of audiences geographically and demographically.

◼ Fit for the future – as the largest arts centre in the UK, the Southbank Centre delivers world class spaces, combined with a strong digital engagement offer, with 75% of its programme available online and a growing digital engagement amongst its audiences. • the petals represent art forms and the programmes they contribute to, including the Southbank Centre’s four core forms - visual art, music, literature and performance, as well as cross-disciplinary opportunities, supported through its learning programme, site design, festivals and public participation programming.

4 DCMS Sectors Economic Estimates for 2018, released 2020 5 DCMS Sectors Economic Estimates for 2017, released 2019

Economic and Social Impact Assessment of The Southbank Centre

Figure 2-4: The Southbank Centre's strategic ‘Pillars and Petals’

Source: Board Presentation Slides

2.9 The Southbank Centre’s strategic approach, as expressed through its ‘pillars and petals’ framework, is closely aligned with ACE’s 2030 Vision, which states:

“By 2030 we want England to be a country in which the creativity of each of us is valued and given the chance to flourish, and where every one of us has access to a remarkable range of high-quality cultural experiences.”

2.10 The commitment of the Southbank Centre to promote diversity, inclusion, quality, and learning across its artists, audiences and communities is borne out in the wide range of evidence collated in the later sections of this report. At its core is a commitment to providing excellent public value for money, monitoring and evaluating its own socioeconomic performance, and thereby securing cultural and creative opportunity of its future audiences and artists for years to come.

Economic and Social Impact Assessment of The Southbank Centre

3. Visitation and Societal Reach

Key messages The Southbank Centre has a wide reach geographically and amongst various audience groups, both as a visitor destination and through its growing digital programme. • The Southbank Centre received 4.45 million visits in 2018, making it the fifth most visited attraction in the whole of the UK: it received more visits than the Tower of London and Royal Albert Hall combined, and its visitors could fill Wembley stadium 50 times. • The Southbank Centre’s presence serves to animate the wider area by supporting pop up enterprises, public art installations and other activities. Wider footfall on the site reached 31.7 million in the same year, a growth of 86% since 2008. • 55% of visitors came from the UK: around 1.8 million unique visitors. This implies that 1 in every 33 UK residents attended the Southbank Centre in 2018/19, with visitors from all regions of the UK. • The Southbank Centre is an important local asset. Approximately 1.2 million unique visitors came from London, equivalent to 1 in every 7 Londoners. 1 in 6 visitors to booked events came from the local boroughs of Lambeth and Southwark, equivalent to 8% of residents. • There is a growing body of evidence on the wellbeing effects of engaging with the arts: we estimate that given its local reach, the Southbank Centre supports over £150 million in wellbeing value per annum for the UK • Drawing 45% of its visits from overseas residents (1.5m unique visitors in 2018), the Southbank Centre is an important cultural tourism asset. Around 1 in 10 of all London’s international visitors went to Southbank Centre, along with 1 in 3 cultural tourists. • The Southbank Centre attracts a slightly younger visitor population than other London ALVA destinations: the average age of visitors aged over 16 is 37 years old compared to 40 years old for other London ALVA venues. • The Southbank Centre has invested in its digital offer and this is helping it to expand its reach and accessibility significantly, as well as to maintain engagement throughout the period of lockdown in 2020. The website received 9 million visits in 2018/19, a 29% uplift on the previous year. 44% of visits were from other UK regions, and 16% were from overseas. • There have also been significant increases in its social media presence, with Twitter, Facebook and Instagram engagement growing by 4%, 12% and 52% respectively in the past year.

Economic and Social Impact Assessment of The Southbank Centre

Figure 3-1: Ticketed attendance by artform, 2018/19

Source: Annual attendance by month - Artform_Festival_Series

3.8 As part of a wider visitor feedback programme in 2017/188, the Southbank “Coming here as a child and then Centre asked audiences to share their most memorable experiences to better understand bringing my own child to all the how audiences engage with the Southbank Funharmonics concerts of the last Centre and the lifetime value of arts and 7 or 8 years - like home from cultural experiences. Many explained how home for us!” they have visited for many years and introduced children and grandchildren to the ~Visitor feedback arts as a result. The feedback demonstrated a consistent association with the Southbank Centre and significant family and other social experiences mentioned suggest a deeper connection with the venue for many visitors than simply facilitating an event they wish to see. Reach by geography

Local audiences

3.9 The Southbank Centre is firmly embedded in its local population. The majority of visitors surveyed as part of the 2018/19 ALVA survey9 were from the UK (55%). Drawing on the total numbers of 4.5m visitors, the survey sample suggests that in 2018/19 proportionately 1.8m visits were from UK residents. It can be conservatively estimated that around 1 in every 33 people in the UK visited the Southbank Centre in 2018/1910. 3.10 Within the UK, most visitors surveyed in 2018/19 were from within the South East and London (87% of UK visitors) of which two thirds were from within London11. This suggests 1.2m visitors were from London, meaning that around 1 in every 7 Londoners visited

8 ACE Survey Submission, 2017/18 9 ALVA Survey Report, 2018/19 10 This uses UK Population Estimates, 2018 (UK and region of London), and assumes that 70% of visits were unique visitors in that year (see later data on repeat visits) 11 London is defined as visitors from the London postcode area.

Economic and Social Impact Assessment of The Southbank Centre

the Southbank Centre in 2018/1912 which, for a sense of scale, is over 25% more visitors than the number of international visitors to Wales in the same year. 3.11 Comparing ALVA survey findings across ALVA members suggests that a slightly lower proportion of visitors to the Southbank Centre report themselves to be living in its local area compared with findings from other London ALVA members13. The Southbank Centre is seeking to support its local visitation figures through its free programme and other concessionary options, with 1,350 free “It’s difficult to underscore the events and 17,000 tickets issued with importance of the Southbank concessions in the preceding year, 2017/18. Centre to the Borough of The work of the Southbank Centre to benefit Lambeth. One of the things that its local community is discussed in more detail in Section 5 of this report. they do really successfully is the 3.12 That said, looking at bookings data only, work they do with our local more than 1 in 6 visitors were from the communities. They try as hard as Southbank Centre’s local boroughs of they can to bring in those people Lambeth and Southwark (742,000 from the borough who wouldn’t visitors). This is equivalent to roughly 8% of Lambeth and Southwark’s population14. As necessarily enjoy and take Figure 3-2 shows, the proportion of visitor advantage of that local offer.” – bookings from Lambeth and Southwark has London Borough of Lambeth remained fairly steady in recent years, with an increase in bookings from within London in 2018/19.

Figure 3-2: Breakdown of ticket bookings by local geography, 2016/17 to 2018/19

Source: Southbank Centre marketing KPIs data

12 UK Population Estimates, 2018 (UK and region of London) 13 ALVA Survey 2018/19 14 GLA Assembly Constituency Profiles 2016; ONS, London and UK population 2016

Economic and Social Impact Assessment of The Southbank Centre

There is an established body of evidence that suggests that attending and engaging in arts and cultural events and activities has a benefit to individual wellbeing. Expert research commissioned by DCMS15, shows that arts and cultural engagement is associated with higher wellbeing, valued at £90 per person per month. Applying this wellbeing value to the number of adult UK visits to Southbank Centre in 2018 equates to a wellbeing value of over £150m per annum.16

International reach

3.13 In 2018/19, 45% of visitors surveyed were from overseas. This implies there were roughly 1.5m overseas visitors to the Southbank Centre in 2018/19. Over this period, London received 19m international visitors in total,17 and of these an estimated 6.1m18 visited London for its cultural offer. This suggests that around one in ten of London’s international visits and one in three of London’s international visits for culture was to the Southbank Centre. The Southbank Centre also compares favourably with other ALVA members in London in terms of attracting overseas visitors, with 45% of visitors being international compared with 42% at other London destinations, as surveyed in 2018/19. 3.14 The Southbank Centre has a distinctive mix of international visitors when compared with other London ALVA member organisations, as shown by Figure 3-3. Visitors from Europe and Asia make up 90% of surveyed international visitors compared to 56% at other London ALVA member organisations. Also, 7% of the Southbank Centre’s international visitors surveyed were from Australasia and North America, compared to 39% of international visitors surveyed at other London ALVA member organisations.

Figure 3-3: Proportion of international visitors by top 5 regions, %, 2018/19

Source: ALVA Survey, 2018/19 3.15 The visitor survey also finds that Southbank Centre visitors who had visited more than once in the year tend to visit more frequently than repeat visitors at other London ALVA sites. On average repeat visitors reported to have been to the Southbank Centre seven times

15ttps://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/304899/Quantifyin g_and_valuing_the_wellbeing_impacts_of_sport_and_culture.pdf 16 Figure updated to 2018/19 prices, and deadweight applied to control for regular local visitors. 17 ONS, Overseas Residents Visits to the UK, 2014-2018 18 According to the ONS Overseas Residents Visits to the UK figures, 9.5m of London’s visitors in 2018 visited for the purposed of a holiday. The GLA study into the value of Cultural Tourism in London estimates 64% of London’s holiday visitors to attribute the purpose of their visit to culture.

Economic and Social Impact Assessment of The Southbank Centre

over the past year, compared to just five visits over the past year at other London ALVA sites. This suggests visitors return at least every two months at Southbank, rather than every three months at other attractions.

Figure 3-4: Breakdown of first time and returning visitors, 2018/19

Source: ALVA Survey, 2018/19 3.16 The Southbank Centre attracts a slightly younger visitor population than other London ALVA destinations, with the average age of visitors aged over 16 being 37 years old, three years younger than the average age across other London ALVA destinations. 3.17 The Southbank Centre booking figures provide further insights into its reach across different age groups.19 As shown by Figure 3-5, the organisation receives a varied mix of visitor bookings which largely reflect the national profile of engagement of adults with the arts20. 3.18 People aged over 65 account for 23% of the Southbank Centre’s visitor bookings, compared to 18% of the UK population.21 This is especially important given the Taking Part Survey22 which found that nationally people aged over 75 are less likely to have engaged with the arts over the past year than any other adult age group.23 3.19 Under 16s are slightly underrepresented in the Southbank Centre ticket bookings compared to the UK average, but this is assumed to be a result of their often attending in school groups, where ticket bookings would not be required. Nationally, under 16s are found to be very well engaged with the arts with 96% having engaged at least once over the past year24.

19 Please note however this records the details of people making bookings only, and so may miss information on diverse groups or visitors who do not attend events ticketed by Southbank Centre 20 Taking Part Survey, adults 16+, 2018/19: Arts 21 ONS, Overview of the UK Population, https://www.ons.gov.uk/peoplepopulationandcommunity/populationandmigration/populationestimates/articles/overvi ewoftheukpopulation/august2019 22 Taking Part Survey, adults 16+, 2018/19: Arts 23 According to the Taking Part Survey, only 64% of people surveyed in this age group reported to have engaged over the year compared to at least 77% of 16 to 64 year old people. 24 Taking Part Survey, children (5-15), 2018/19

Economic and Social Impact Assessment of The Southbank Centre

Figure 3-5: Breakdown of ticket bookings by visitor age, 2018/19

Source: Annual Demographics - Weekly_Festival_Artforms_Series Combined, 2018/19 Digital audience 3.20 Digital development continues to be a strategic area of growth for the Southbank Centre, and ambitions to expand audience reach and engagement have been supported through the recruitment of an internal content team in 2017/18 to deliver an expanded editorial offer. The newly launched website in 2016 has also provided enhanced functionality, and this has proved a critical investment in the wake of the COVID-19 crisis, as well as wider trends in demand for virtual arts and cultural content. 3.21 As a result of this investment, the Southbank Centre’s website received over 9 million visits in 2018/19, representing a 29% uplift in visits on the previous year25. Of the new website users, 84% were from within the UK. Significantly, 44% were from outside London. The remaining 16% were from overseas, with 5% from the US26. People in New York made up a higher proportion of visits to Southbank’s website than visitors from Birmingham and Manchester combined, demonstrating its international cultural importance. 3.22 The Southbank Centre achieved strong growth in social media engagement across all three of its platforms between 2017/18 and 2018/19. Twitter, Facebook and Instagram grew by 4%, 12% and 52% respectively, as shown by Figure 3.6 and 3.7. Since refining its video offering, Southbank now uses Facebook as the primary delivery platform as opposed to YouTube. This led to over a million views of its videos in 2017/18 with two of the biggest successes coming via Facebook Live partnerships. 3.23 The Southbank Centre has also established a dedicated audio content strand through its iTunes channel with a programme of curated recordings from its literature and talks programmes delivering over 20,000 listens to a UK and global audience. 3.24 Digital outreach is important to the Southbank Centre’s ability to reach potential new visitors. According to the 2018/19 ALVA report, 67% of visits to the Southbank Centre were prompted online, either by online advertising or visits to the website or social media platforms. Given that most of the Southbank Centre artwork collection is also available online (51-75%), this further highlights the accessibility and wide reach of the Southbank Centre’s digital offer.27

25 KPI spreadsheets 26 Top Countries Apr 18- Mar19 27 ACE Survey 2018/19

Economic and Social Impact Assessment of The Southbank Centre

Figure 3-6: Social media engagement by Figure 3-7: Growth in social media platform engagement pa by platform, 2017/18- 18/19

Source: Southbank Centre data

Economic and Social Impact Assessment of The Southbank Centre

4. Economic Impact

Key messages The Southbank Centre has a significant economic footprint in London and across the UK through its role as an employer, purchaser, and as a visitor attraction. • The Southbank Centre supports 456 direct FTE jobs across a range of front of house, administration, technical and curatorial/artistic roles. A further 50-100 jobs are supported within pop-up and other enterprises based on-site. It is estimated that the direct GVA of Southbank is £26.7 million. • The Southbank Centre spent £25m with 900 suppliers across the UK, with £15m spent with suppliers based in London, especially in the security, construction and the creative sectors. • The wages of the Southbank Centre’s employees and those in the supply chain also supports economic impact as they are spent with business in London and across the UK. 90% of employees live in London and 10% in Lambeth. • The core economic contribution of the Southbank Centre (ie direct, indirect and induced effects) is estimated at 970 FTE jobs and £30 million in GVA in London, growing to around 1,200 FTE jobs and £42 million in GVA across the UK. • Around 4.5m visitors visited the Southbank Centre in 2018/19. These visitors were drawn from far and wide, with around 45% from overseas and around 20% from the rest of the UK • The spend of these visitors off site, estimated at £480m per annum in London based businesses, supports significant economic activity in London and beyond. This is estimated at a net additional 7,400 FTE jobs and £530m of GVA in London. For the UK, this additional expenditure supported 6,000 net additional FTE jobs and £440m in GVA.28 • This implies that, for every direct job at the Southbank Centre, a further 2-2.5 are created in the regional and national economy, and that 1 in every 11 jobs in London’s cultural tourism sector is supported by the Southbank Centre. • The Southbank Centre delivers a series of supply side economic impacts through its work with artists, pop-us, and wider economic impacts from visitors. It plays an important role in the development of the arts and cultural sector, helping to promote enterprise, and pulling in visitors for the benefit of other nearby attractions.

28 Note the UK figures on visitor economy impacts are lower here as they only take into account expenditure by visitors from overseas. Spend by UK residents is treated as displacement at the UK level.

Economic and Social Impact Assessment of The Southbank Centre

Table 4.1 the Southbank Centre Supplier spend by sector, 2018/19 Sector Spend (£m) % of Total Spend Buildings & Landscape Activities £3.5 23% Security & Investigation Activities £3.2 20% Creative, Arts & Entertainment Activities £2.1 14% Libraries, Archives, Museums & Other Cultural £1.1 7% Activities Office Administrative, Office Support & Other Business £0.9 6% Support Activities Other Sectors (c.25 sectors) £4.5m 30% Source: Southbank Supply Spend data, Hatch Regeneris

4.11 This supply chain expenditure supports jobs within its direct suppliers as well as in the wider supply chain, as the Southbank Centre’s suppliers themselves spend money on their own suppliers in order to respond to the demands of the Southbank Centre, and so on (this is known as the multiplier effect). It is estimated that in London, this supply chain impact supports £15m in GVA and 350 FTE jobs. This rises to £20m in GVA and 500 FTE jobs across the UK.

Induced effects

4.12 As the Southbank Centre’s employees and those in its supply chain spend their wages and salaries, this spending on food and drink, clothing, transport and so on supports further economic activity in London and the UK through multiplier effects. It is estimated that these induced effects support £15m in GVA and 200 FTE jobs in London, and £20m in GVA and 250 FTE jobs across the UK.

Tourism effects

4.13 As we saw in Section 3, the Southbank Centre attracts large numbers of visits to London: in 2018/19 the Centre itself received over 2.8m visits from outside London, the majority of which were from overseas (around 2m). This does not include casual visitors to the wider South Bank area, captured in the 31.7 million visitor footfall. 4.14 It is estimated that around 4.5 million visitors visited the Southbank Centre in 2018/19. This covers 1 million ticketed/ booked visitors for events, conferences and performances that are booked through the Southbank Centre including the Resident Orchestras and other dance and musical performance. The remaining 3.5 million visitors are to other commercial events that are booked externally (eg with an operator who rents the space at the Southbank Centre) and also visitors to over 1,200 free events that are held at the Southbank Centre, such as exhibitions and festivals.29 4.15 We have used Southbank Centre survey data to estimate a detailed breakdown of visitors (day vs staying visitors, by origin). This showed that around 55% of visitors were from the UK, and around 66% of these were from London.

29 It should be noted that the Southbank Centre will also bring in additional visits from touring artists, orchestras, entourages and press, all of which will create further economic impacts for London and the UK. These have not been quantified here due to lack of data.

Economic and Social Impact Assessment of The Southbank Centre

Table 4.2 Total Economic Impact Summary Direct Indirect Induced Total Core Off-site Visitor FTE GVA FTE GVA FTE GVA FTE GVA FTE GVA London 456 £26.7 330 £12.5 190 £17.0 970 £30.7 7,400 £530 UK 456 £26.7 490 £21.3 260 £20.1 1,200 £42.0 6,000 £440

Source: Hatch Regeneris calculations, drawing on Southbank Centre data Supply side 4.23 In addition to the demand side impacts above, Southbank delivers a series of supply side impacts through its work with artists, pop-us, and wider economic impacts from visitors. 4.24 The Southbank Centre plays an important role in the development of the arts and cultural sector. It is an important institution for artists and smaller cultural organisations, allowing them to showcase their work, providing network opportunities to raise their profiles, as well as offering training, experience and support. This enabling role contributes towards the development of skills, partnerships, and ideas. The specific work that the Southbank Centre undertakes with artists is outlined in further detail in Chapter 9. It is difficult to quantify the impact of this on the sector, however it is clear that this activity that the Southbank Centre enables helps to grow the arts and cultural sector in London and more widely across the UK. 4.25 Further, the Southbank Centre promotes enterprise through providing space for pop-up businesses and stalls to operate on-site, throughout the summer and winter seasons and as part of their festivals. In addition to creating jobs (as outlined above), they are a critical component in activating space around the site. In addition to the external restaurants, cafes and shops, there is space for 36 mixed market traders, and a further 11 pop-up businesses hosted on a seasonal basis. Providing space and opportunity for these businesses to trade promotes enterprise in the area, and anecdotal evidence from consultations indicates that they are an important reason for some visitors to visit the South Bank - as not all visitors visit the site for arts and cultural purposes. Chapter 10 elaborates on the impact of the Southbank Centre towards placemaking. 4.26 There are also wider visitor economic impacts. The Southbank Centre is at the centre of a key cultural hub, adjacent to the British Film Institute, the National Theatre, and the Jubilee Gardens. It therefore plays a critical role in pulling visitors to the local area who go on to visit these other institutions. Southbank Centre visitor survey data shows that over 44% of visitors visited the site as part of another visit. Given that just under half of the Southbank Centre's visitors are from overseas, these visitors represent additional visitors to the area who would likely not have been there without the presence of the Southbank Centre.

Economic and Social Impact Assessment of The Southbank Centre

5. Creativity through Diversity

Key messages The Southbank Centre is committed to widening access to the arts for its audiences, local communities, and wider stakeholder groups. It achieves this through targeted marketing and communication activities, ensuring its artistic programming is diverse and reflective of wider UK society, as well as delivering strategic diversity and inclusion (D&I) programmes for its staff and employees. It delivers: • Performance-based marketing activity to engage new local, U30s, and BAME audiences, with other strategic priorities around older and LGBTQI+ audiences. • At least 40% free programming each year. • Strong increase in tickets held by over 65s (up 96%), BAME audiences (up 23%), and new local audiences (up 15%). 24% of the Southbank Centre’s visits were made from BAME backgrounds in 2018/19, particularly high when compared to 15% across other London ALVA members. • Diverse artistic programming, particularly through an annual festival programme, and use of immersive and interactive performances to encourage local community involvement. • D&I workplace programmes, resulting in a 51% increase in BAME employees between 2013 and 2017. The Accelerate programme alone delivered £39,000 of social value in 2018/19.

Committing to arts for all

The importance of inclusion and diversity

Figure 5-1: % engagement in the arts 5.1 There are clear issues around diversity by region, 2018/19 and inclusion in access to the arts in the UK, with significant differences in access between different demographic and geographic groups of the population. 5.2 Across English regions, London has the lowest participation in the arts with 67% of people engaging in the arts once or more in the last 12 months, compared with 73-86% of residents engaging in the arts among the other UK regions33. 5.3 BAME people also tend to participate less in the arts. According to the Taking Part Survey for England 2018/19, less than 70% of those who describe their ethnicity as ‘Black’ or ‘Asian’ had engaged with the arts over the previous 12 months, compared with 79% of Source: Taking Part Survey, England Adult Report, 2018/19 those of ‘White’ ethnicity. Disability, too, acts as a significant barrier to engagement with the

33 Taking Part Survey: England 2018/19

Economic and Social Impact Assessment of The Southbank Centre

arts if not accounted for by public and arts institution mobility measures. In 2018/19, people with a long-standing illness or disability were 6% less likely to have engaged with the arts over the past year than people without this restriction, according to the same survey. 5.4 Inclusion and Relevance is one of the four Investment Pillars in the Arts Council’s recently published ten-year strategy, which states that the Arts Council will “…ensure that this country’s diversity is fully reflected in the culture it produces”:

The Southbank Centre’s strategic commitment

5.5 Diversity is a strategic priority for the Southbank Centre: it sees its ambition to deliver artistic excellence as being closely tied to the diversity of its artists and audiences, as well as within the institution itself. The Business Plan as part of its National Portfolio Organisation application in 2018 seeks to address arts and culture diversity and inclusion issues by engaging ‘the widest possible audiences in the broadest range of cultural forms’34. The plan also seeks to influence the wider sector by establishing ‘the norm that diversity in the arts is synonymous with excellence in the arts’. The Southbank Centre recently received a Creative Case for Diversity rating of “Strong” based on a comprehensive assessment from ACE.35 Widening access to the arts

Key initiatives

5.6 The institutional commitment to diversity and inclusion is reflected in the Southbank Centre’s marketing strategy and wider audience development priorities. The focus is on reaching out to BAME communities, local Lambeth residents, under 30s, LGBTQI+ communities and limited access audiences.36 In practising this strategy, the Southbank Centre carries out targeted email and social media campaigns, research into booking data to inform artistic programming, and assessment of the appeal of free programming to encourage diverse audiences. 5.7 Alongside its commitment to providing free access to at least 40% of the participation programme, an example of the Southbank Centre’s targeted free programming is the under 30’s scheme, which offers free introductory tickets and further £10 tickets to visitors who are aged under 30. The Southbank Centre also has a dedicated Community Marketing officer who specifically seeks to target African, Chinese and South Asian audiences as well as making connections with hard to reach groups from the local community. These core target groups form part of every marketing campaign. 5.8 The Southbank Centre runs Dementia Friend information sessions for staff, which are included in the inductions of all Visitor Experience staff. This is the official training as created and authorised by the Alzheimer's Society, and all in house trainers are approved to deliver it. 5.9 To support these efforts, the Southbank Centre has developed a data-led approach to its audience analytics, investing in systems that enable it to build clear and consistent profiles of the existing audience base and allow segmenting by behavioural categories. Further work has mapped current programming provision against the known database in order to establish where Southbank is either over- or under-serving audiences, to look at where

34 Southbank Centre NPO application, 2018 35 file:///C:/Users/Fann93872/Downloads/ACE DiversityReport Final 03032020 0.pdf 36 Case studies that promote inclusion and diversity at Southbank Centre

Economic and Social Impact Assessment of The Southbank Centre

Promoting a diverse artistic programme

Key initiatives

5.12 The Southbank Centre also influences “Friendly, warm, vibrant, proud of diversity and inclusion through its artistic its heritage and confident in its programming. The strategic focus is on role bringing exciting and representation and relevance for the people excellent exhibitions and of London, and the participation team seeks to ensure all voices are represented in the performances to everyone!” 39 centre’s artistic work and vision. This ~Audience feedback approach includes the production of programmes which celebrate artists from a range of backgrounds across gender, sexuality, ethnicity, age and disability. 5.13 This is most clearly represented through the Southbank Centre’s public festival programme. The 2019 programme included a series of multi-art form festivals, working with local, national and international partners. The aim was to create a programme of work that represents all voices present in society including those that may typically be pushed to the margins. The festivals included: • LGBTQI+ Summer – two months of events and performances celebrating alternative pride and featuring performances and DJ sets with 12,900 attendees • Africa Utopia 2019 – a yearly festival which showcases art and ideas from Africa and the African diaspora, drawing an audience of 3,250 across different events. • Meltdown Festival – an annual music festival held on the Riverside Terrace, curated by a different leading music act or artist each year. In 2019, it pulled in an audience of 2,225 over 2 weeks. 5.14 The Southbank Centre also seeks to create events that directly involve audiences in the performance itself, from immersive and interactive performances, to deeper opportunities for learning and engagement, such as Bernstein’s Mass.

39 Southbank Centre Public Programming Mission and KPI's

Economic and Social Impact Assessment of The Southbank Centre

6. Creative Learning for All

Key messages The Southbank Centre delivers a creative learning programme for schools, young people and adults, as well as arts sector professionals, providing creative learning pathways to inspire long term interest in the arts and culture sector. It delivers: • Strong engagement with primary, secondary and SEN schools, reaching 13,600 students in 2018/19. This included a c. 50% penetration rate in local primary schools, including through Arts Explorers, a three-year programme with 6 Lambeth primary schools. • Engagement with school teachers, 250 of whom were engaged in the same year through programmes like the Creative Learning Lab, generating £515,000 of social value as a result. • Partnership working through formal education partnerships, like the Lambeth Cultural Education Partnership, South Bank Partners group across BFI, National Theatre and Rambert creative learning teams, and other local partners like the Lambeth and Southwark Music Services. • Programmes for young adults and adults. The adults programme delivers a series of evening and weekend courses for all adults, and professional development activities targeting art sector professionals as well as other adults. 2018/19 saw noteworthy growth across both groups, at 210% and 179% respectively, delivering over £2 million of social value that year. • Ongoing involvement in a bespoke Masters level course, in collaboration with King’s College London, with a yearly cohort of 26 students.

Cultural pathways to higher level skills

The importance of creative skills

6.1 The UK arts and cultural sector makes a valuable contribution to the national economy by inspiring innovation, improving productivity, providing educational opportunities and boosting long term learning41. Studies show that children from low income families who take part in arts activities are three times more likely to get a Higher Education degree, promoting higher skilled employment opportunities in later life.42 The Southbank Centre’s cultural engagement with schools in Lambeth and Southwark is therefore particularly important in helping to overcome the lower levels of social mobility in the locality, where around one in four children are eligible for free school meals43. However, through persistent investment in this area, Lambeth is one of England’s strongest performing local authority areas in closing the attainment gap between disadvantaged and other pupils, with over 70% of disadvantaged Key Stage 2 students attaining the level 4+ benchmark in reading, writing and maths combined (compared to 81% across other pupils)44. Similarly, 55% of

41 ACE, The Value of Arts and Culture to People and Society 42 Cultural Learning Alliance, Imagine Nation: The value of cultural learning report, 2017 43 Ofsted, Attainment Gaps Data Analysis Tool, 2014 44 Lambeth, Narrowing the Achievement Gap: Good Practice in Schools report, 2015. Disadvantaged students identified according to eligibility for free school meals.

Economic and Social Impact Assessment of The Southbank Centre

disadvantaged secondary school students in Lambeth go on to Higher Education level study, compared to just 43% of disadvantaged students across England.45 6.2 The Southbank Centre also operates in a local context that suffers from a relatively high rate of unemployment at 7% compared to only 4.2% in England as a whole46. Boosting employment and productivity is therefore significant for Lambeth and Southwark and the arts sector currently directly accounts for at least 1 in every 20 jobs in the area 47, making the accessibility of these opportunities to local people of high priority.

The Southbank Centre’s strategic commitment

6.3 Core to the Southbank Centre’s ethos is a belief in the right of every child to a creative and cultural education, and the ability of creative subjects to teach essential life skills such as self-expression, collaboration, cultural awareness and empathy, and creative problem- solving. The Southbank Centre delivers a creative learning programme for schools, young people, adults, as well as arts sector professionals. By providing creative learning pathways across these demographics, it is intended to inspire long term interest in the sector and to spark creativity and skills as a result. 6.4 The Southbank Centre’s objectives are to improve: • Access to the arts sector – broadening experiences, building diversity and inclusion, obtaining future audiences and demonstrating the value of arts to the education sector • Arts sector development – inspiring and training arts sector professionals and sharing learning with professional networks such as the Institute of Creative Learning 6.5 The creative learning strategy works through three main programmes with a bespoke rationale for engaging with each target group: schools and formal learning, the young adults programme and the programme for adults and professionals. Schools and formal learning

Key initiatives

6.6 The Southbank Centre’s schools programme engages primary, secondary and Special “The Schools Takeover Day is Educational Needs (SEN) schools and reaches an invaluable experience for thousands of children every year across a wide the children. They learn a vast range of artistic forms, from National Poetry number of new skills and gain Library workshops to classical concerts. This is viewed as some of its most important work, so much confidence. We giving young people meaningful opportunities couldn’t offer an opportunity for self-expression and developing imagination like this without the support of and creativity, particularly important for children the Hayward Gallery.” who are less socially mobile. ~Teacher 6.7 The programme is supported through a strong set of strategic partnerships across the

45 DfE, Education statistics by LA district and pupil disadvantage – post 19 tables, 2014/15 destinations 46 ONS, Annual Population Survey, 2018 47 ONS, Business Register and Employment Survey, 2018

Economic and Social Impact Assessment of The Southbank Centre

National Theatre, BFI Southbank, Rambert, and A New Direction, aiming to reach more primary and secondary schools across London each year. Outputs have included a primary school module for the London Curriculum with the GLA, and a programme of work focused on careers in the creative industries for Lambeth Council's Next Generation project. Representatives from the Participation Team also attend the Big Change Series, to keep up to date on and discuss ACE recommendations and research, in order to continually inform and improve the programme. 6.8 The Southbank Centre continues to have a close and positive relationship with its two bordering boroughs through two of its key music partners: Lambeth Music Service and Southwark Music Service. Together, they host a number of events to showcase and support the music services’ activities across the year, including the Lambeth Music Festival where over 3,000 children from Lambeth schools perform across the week and the annual creative music and dance production, Southwark Splash. The Southbank Centre also collaborates with the Lambeth School Cluster made up of BLC, Windmill, Gipsy Hill Federation and Oval, which represents a meaningful pathway to reach local schools via trusted collaborators in the community. 6.9 The schools programme is extensive, offering everything from intensive long-term “What is really exciting about the projects for local schools in Lambeth, to Southbank Centre is the remit and one-off workshops and festival days for schools across London and the UK. It scope of their activities. Although engages students and teachers alike and is they are an organisation with a closely linked to the Southbank Centre’s national remit, they are very keen artistic programme providing children, on working with their local young people and teachers with firsthand experiences with artists. schools. The fact that that’s a 6.10 The Creative Learning Lab is designed to priority for them shows how they find new ways for the arts to be taught in are balancing their responsibilities secondary schools across the UK, and for at the national level with those for teachers to have a creative approach in their Lambeth.” classroom. A set of high-profile artists - LionHeart, Sarah Freestone and Neequaye – Lambeth Cultural Educational Partnership Dreph Dsan – were matched with a school teacher to create lesson plans for mandatory subjects (English, Maths, Science, History and Geography). 60 school students at Key Stage 3 took part on the day, experiencing a fresh approach to the teaching of these subjects. 6.11 The Southbank Centre also delivers a locally focused Arts Explorers programme, a three- year programme working with 6 Lambeth primary schools. As a supporter of the Arts Award and an Artsmark Partner, the Southbank Centre encourages young people to fulfil their Arts Awards through the range of young people’s activity that is provided year-round. Since late 2019, the Southbank Centre has run a remodeled Associate Schools programme to specifically target schools that are not currently engaged, working with them over a sustained period to achieve confident arts leadership and their Artsmark status.

Recent performance

6.12 In 2018/19, over 13,600 school students were engaged in creative learning activities at the Southbank Centre, 62% of whom were primary and 38% secondary school age. This equates to a total of 138 primary schools and 156 secondary schools participating, and Figure 6.1 shows their spread across local boroughs, Greater London, UK and overseas.

Economic and Social Impact Assessment of The Southbank Centre

summit day for another 100 participants, and the Southbank Centre has continued to support and develop these young artists throughout 2018/19.

Wellbeing valuation assessment suggests that this continued support in 2018/19 has delivered over £5,500 in social value accruing to the 15 young people benefitting from this ongoing engagement.

6.16 More recently, Violet Nights is a monthly youth event for discussion and performance, featuring artists, politicians and industry professionals on panel discussions run by young people (see case study below). 6.17 As part of its commitment to young people the Southbank Centre also hosts a number of youth arts organisations through on-site residencies, offering them rehearsal space and performance opportunities, as well as working collaboratively with them when possible. This includes Tomorrow's Warriors and Kinetika Blocco, as well as relationships with the National Youth Orchestra of Great Britain and ZooYouth.

Economic and Social Impact Assessment of The Southbank Centre

engagement with other adults. This demonstrates the increasing influence that the Southbank Centre is achieving in the arts and cultural sector through its work to inject long term interest and high-level skills into the creative industries. This activity is particularly important to the sector given that a high proportion of arts and cultural employers are small businesses which cannot afford to invest in workforce development, compounded by an undersupply of suitable training opportunities for the sector, as found by the Arts Council England evidence review into skills in the arts, creative and cultural sector49.

Figure 6-3: Professional training Figure 6-4: Growth in professional training attendance by artists & other adults attendance by artists & other adults

Source: Southbank Centre, ACE stats 2017-2019 Source: Southbank Centre, ACE stats 2017-2019

Based on a wellbeing valuation assessment for 2018/19 participation figures, an estimated £1.9 million of social value was delivered as a result of the professional training for artists, and over £260,000 of social value was delivered through the training provided for other adults.

49 ACE, Leadership, Workforce Development and Skills in the Arts, Creative and Cultural Sector: Evidence Review, 2017

Economic and Social Impact Assessment of The Southbank Centre

7. Creative Health & Wellbeing

Key messages The Southbank Centre is committed to demonstrating the important role of arts and culture in improving public health and wellbeing, and increasingly is acting as a sector leader and convener in this area. It delivers impact through: • A community level programme of creative health activities including (B)old, a highly successful festival for older people that attracted 6,000 attendees in 2017 and which has led to a variety of ongoing projects. The Southbank Centre has created a new role to coordinate this area going forwards. • Dedicated analysis of audience and visitor wellbeing, including HeARTs, a new partnership with the Royal College of Music to monitor this longitudinally. ALVA data from 2018/19 shows the Southbank Centre achieved a 2-6% uplift in wellbeing scores compared with all other London destinations. • A strategic focus on proving, demonstrating and advocating the power of arts and creativity to reduce social isolation and loneliness, with the aim of influencing UK policy across the health and arts sectors. The Southbank Centre held the first Creative Health Conference in 2019 with 700 attendees, and this year has been announced as the host for the National Academy of Social Prescribing in partnership with NHS England and other key players.

Bringing arts & culture into the health ecosystem

The importance of the arts for health

7.1 The vital role that arts and culture plays in boosting health and wellbeing outcomes for individuals and communities is increasingly recognised across the public sector. As detailed in the landmark report Creative Health: The Arts for Health and Wellbeing50, the creative sector is making great strides in helping to keep people well, aid recovery and support ‘longer lives, better lived’ across the UK. Music therapy, for example, has been found to reduce agitation and the need for medication in 67% of people with dementia, whilst an arts-on-prescription project has seen a 37% drop in GP consultation rates and a 27% reduction in hospital admissions.51 A study conducted within deprived communities in London found that, of those people who engaged with the arts, 79% ate more healthily, 77% engaged in more physical activity and 82% enjoyed greater wellbeing. Government analysis of arts participation rates in England estimates that NHS cost savings achieved due to reductions in GP visits as a result of these wellbeing benefits is in the region of £168 million per year.52 7.2 As a result, the arts sector is increasingly being seen as an integral partner in the development of local health and social care plans. With a proven ability to positively impact issues including health inequality, mental health, long-term conditions, and ageing, the creative and cultural sector makes an invaluable contribution to a healthy and health- creating society.

50 All Party Parliamentary Group on Arts, Health and Wellbeing Inquiry Report, 2017 51 NHS blog: Getting creative to change people’s lives https://www.england.nhs.uk/blog/getting-creative-to-change- peoples-lives/ 52 As above

Economic and Social Impact Assessment of The Southbank Centre

The Southbank Centre’s commitment to change

7.3 The Southbank Centre has long been an advocate of the role that arts and culture plays in improving the health and wellbeing of individuals and communities. From its conception with the 1951 Festival of Britain, described at the time as “a tonic for the nation’s wellbeing” following the Second World War, to the recent Changing Minds festival, a dedicated weekend-long festival which explored mental health and the arts, the Southbank Centre is committed to driving change in conventional thinking and practice. 7.4 In more recent years, this has been formalised through a strategic programme to address social isolation and loneliness, in response to the UK Government’s 2018 strategy for tackling loneliness. This is delivered as part of the Creative Learning programme, with an aim to use the physical site and the artistic programme to build communities by bringing individuals together and promoting a sense of belonging. The strategic focus of the Southbank Centre’s health and wellbeing work is therefore on proving, demonstrating and advocating the power of the arts to reduce social isolation and loneliness. 7.5 Where possible, the Southbank Centre also looks to identify key partners to build community, education, commercial, political and academic partnerships to promote greater influence on the wider health and wellbeing agenda. Enhancing community wellbeing

Key initiatives

7.6 As part of the Southbank Centre’s community outreach work, a new role has been created within the Creative Learning team. The Creative Learning Manager - Arts and Wellbeing will oversee and deliver the new programme within the community, structured by five key areas: exhibitions, concerts, singing, social dances and creative writing. Examples include the Southbank Centre’s long relationship with Streetwise Opera, a singing group dedicated to people affected by homelessness; the Singing for Breathing group which uses singing to help people tackle the symptoms of COPD and other respiratory conditions; and the Southbank Centres’s free afternoon tea dances which are 300 00 l Using a wellbeing valuation approach, an estimated £47,500 of social value is delivered through the social tea dances each year, based on an average of 350 monthly attendees.

7.7 The Southbank Centre’s festival programme also includes specific recognition of the importance of health and wellbeing, and the recent (B)old festival for older audiences and artists was a notable success at drawing in new visitors and helping to tackle social isolation (see case study below). This has led to regular programmes for people with a dementia diagnosis: (B)old Moves, a bespoke dance course and (B)old Words, a poetry course run in partnership with the National Poetry Library. 7.8 The physical site and facilities are also used by the Southbank Centre to promote positive change through health, including: • Grounded EcoTherapy – a rehabilitation project run jointly by the Southbank Centre and Providence Row Housing Association for people who have experienced homelessness, addiction and mental health problems, promoting horticultural skills and building confidence. The regular 10 participants built the Queen Elizabeth Hall Roof Garden and continue to maintain it, having a positive impact on their outlook on life. This is delivering £7,500 of social value each year for these participants.

Economic and Social Impact Assessment of The Southbank Centre

• Open Foyer Policy – in 1983, the Royal Festival Hall opened its doors seven days a week in line with the Greater London Council’s new ‘Open Foyer Policy’. Since then, the Southbank Centre has continued to act as a community asset for all, and the site offers a wide range of foyers, lobby and open spaces for community and social groups to meet informally.

Recent performance

7.9 The Southbank Centre is taking a leading role on promoting positive mental wellbeing, as shown by 2018/19 ALVA data on visitor emotional wellbeing measures. Figure 7-1 demonstrates that the Southbank Centre visitor scores are considerably higher compared to other ALVA attractions in London and across the UK. The Southbank Centre scores 2- 6% higher than London averages across all emotional wellbeing measures.

Based on a wellbeing valuation assessment of the average 4% uplift in wellbeing experienced during the 4.45 million visits that Southbank received in 2018/19, this

equates to over £14 million of social value accruing to those individuals, above and beyond that experienced across all other ALVA London sites.

Figure 7-1: Average score of Southbank Centre visitors compared with London and UK ALVA visitors across emotional wellbeing outcomes (out of 10)

Source: ALVA survey data 2018/19 7.10 The Southbank Centre also undertakes its own bespoke analysis in this area, running interviews, surveys and discussions to monitor the impact of specific activities on visitor wellbeing. In 2018, they found that participants came away from the projects feeling happier, more confident, more connected to other people, emotionally stronger and empathetic towards others in society. Their qualitative feedback included:

• “The project improved my confidence and feeling of self-worth.” • “It kept me sane in a period that was very difficult personally.” • “It has increased my empathy with world issues.” • “I feel more connected to the community I live in and have found my voice to speak out for what I believe in.”

7.11 Southbank is building on this through a specialist study as part of the HEarts programme with the Royal College of Music to evaluate baseline levels of wellbeing and social

Economic and Social Impact Assessment of The Southbank Centre

7.13 Building on its reputation as an arts and cultural leader in this space, the Southbank Centre recently announced it will host the National Academy of Social Prescribing (NASP) for 2020/2154. NASP is a national NHS England programme which champions the importance of social prescribing, builds partnerships and grows the research and evidence base. This is part of the NHS Long Term Plan to harness the power of arts and cultural activities through a roll out of social prescribing, with an aim that 900,000 people will be referred to schemes by 2024. The Southbank Centre’s involvement is expected to drive more effective engagement with a wider set of art and cultural organisations and groups than NASP would otherwise be able to achieve.

“It’s a match made in heaven. The Southbank Centre will help NASP to engage with a new audience we might not otherwise get to, and NASP will help Southbank to develop community focused activities that strengthen the Southbank Centre’s role.” Bev Taylor, Social Prescribing Development Manager

7.14 The Southbank Centre’s long-term plans in this area include working with three new programme partners annually, to design, pilot and run a module for Link Workers on arts and health to strengthen existing commitments, and to deliver a nation-wide project around creative health in the coming years. The overall objective is to regularly convene local and national government bodies on this topic, seeking palpable policy change within the next three years.

54 Please note this has been postponed due to the closure of Southbank Centre venues due to COVID-19, but NASP remains a significant strategic partner.

Economic and Social Impact Assessment of The Southbank Centre

8. Placemaking and Partnerships

Key messages The Southbank Centre has played a pivotal role in the long-term regeneration of the South Bank area since the 1950s, is a key member of the Cultural Quarter, and works with a range of local partners to invest in its continued development. The Southbank Centre: • sits at the heart of the Cultural Quarter, along with the National Theatre and BFI • is an active partner in South Bank Employers Group as well as a range of other forums and community groups promoting long term investment in the local area. • invested £35m in major refurbishment of the Queen Elizabeth Hall, Hayward Gallery and Purcell Room, which were reopened in 2018. • plays a critical role in the vibrancy of the area, with a total footfall on the site of 31.8 million in 2018/19, an 86% increase over 10 years • delivers a public festivals programme which attracted an audience of 42,800 in 2018/19, delivering £235,000 of social value. • hosts 64 commercial partners on site including traders, pop-up enterprise, and retail, food and beverage outlets. Collectively these employ an estimated 400 people. • has supported Long Live Southbank, a grass roots organisation set up to maintain and enhance the South Bank skate park. A joint crowdfunding campaign was run for the space, which gained support from the international skateboarding community, the general public, businesses and philanthropists.

Culture as a catalyst for inclusive growth

Importance of culture for local growth

8.1 Culture-led regeneration is well established in UK policy, and arguably has a higher profile than ever before. There is now clear acknowledgement of the civic role that arts and cultural institutions can play as place-based catalysts to deliver growth and drive sustainable regeneration. These impacts can range from growth in tourism, creative and cultural sectors, to enhancing individual skills, knowledge and confidence, to strengthening community resilience and placemaking.57 8.2 Culture-led approaches help to bring creative industry workers into an area, causing creative businesses to cluster and accumulate over time creating a range of employment opportunities58. Combined with the stimulation of visitation and footfall, and an influx of cafes, restaurants, shops and hotels to accommodate the increased flow of visitors and workers, areas like London’s South Bank have evolved to become attractive and thriving neighbourhoods made up of dynamic, creative economies and communities. 8.3 Lambeth’s recent Creative and Digital Industries Strategy for Growth, “A creative way to grow”59, sets out a vision for the area to continue to build on the distinctive and creative

57 GLA, Culture-led regeneration: achieving inclusive and sustainable growth, 2019 58 ACE, Economic Impact of Arts and Culture on the National Economy 59 Lambeth, Creative and Digital Industries Strategy for Growth, A creative way to grow, 2019

Economic and Social Impact Assessment of The Southbank Centre

assets already in place and grow productive clusters of collaboration and innovation for the future. At the core of the strategy is a recognition of the strong relationships between organisations, business and residents across the borough, a unique ecosystem in which the Southbank Centre plays a pivotal role.

The Southbank Centre at the heart of the Cultural Quarter

8.4 The Southbank Centre has been a cornerstone of London’s South Bank’s Cultural Quarter both geographically and historically since its selection as the site for the Festival of Britain in 1951. Having suffered damage during the Second World War the derelict area became part of the original exhibition space. The Royal Festival Hall became a permanent centre for music, and the Southbank Centre was created. This in turn inspired the location of other cultural organisations in the area such as the National Theatre and British Film Institute, creating a cultural cluster around the South Bank of the river Thames (as shown in the timeline below), and paving the way for its continued evolution and development to become a cultural and creative industries hot-spot in London.

Economic and Social Impact Assessment of The Southbank Centre

has comprehensively refreshed internal infrastructure and external furnishings of the buildings and has extended their economic life by another 50 years. The works were designed to lift and preserve the traditional, brutalist architecture once ranked as the ugliest in Britain. Improved access, ventilation and lighting systems, and new production infrastructure now provide a more welcoming experience for audience and performers alike, with a 21% increase in site footfall after the venues were reopened62. In 2018/19, the Southbank Centre reached site footfall of 31.8 million across the site and anticipated a growth in turnover from commercial and artistic revenue streams and through self- generated income of 62%, following the reopening of these iconic venues. 8.12 Its longer-term ambitions for continued placemaking are reflected in the statement below.

“We want to continue the work started with the Royal Festival Hall to make Southbank Centre a truly attractive and enjoyable public space that’s more suitable for artistic performances…Our ambition is to fully pedestrianise the route to the river between the Royal Festival Hall, Queen Elizabeth Hall and Hayward Gallery, to extend the popular Queen Elizabeth Hall Roof Garden, to create new performance spaces, and to improve the connections between Southbank Centre and its neighbouring area.”

Southbank Centre website, Our Future

8.16 The site also has a dedicated sustainability strategy, including being a zero to landfill operation with energy produced from the waste collected used solely for London Boroughs. This process represents a closed loop recycling solution which also reduces CO2 emissions within the London area.63 “It’s a wonderful public space Animating the local area open to all, allowing people who 8.17 The Southbank Centre works hard to do not experience art in their animate its external spaces with regular art everyday to learn more and installations, and external stages, as well as perhaps get engaged in the fountains, an urban beach, its iconic skate future” park, and other pop-up activities. ~Public feedback 8.18 Its public programme is made up of dedicated work presented for free across its open public spaces. This includes The Clore Ballroom, Queen Elizabeth Hall Foyer, Royal Festival Hall Roof Terrace and all other spaces accessible to the public across the site. The events and performances are open to everyone and aim to engage people in the art form as well as with each other. One of the main elements of this work is the festivals programme, which across 2019/20 included Easter, Refugee Week, Summer LGBTQI+, Africa Utopia, Meltdown, Literature, Winter, and Imagine festivals, and attracted a total audience of 42,800.

Based on a wellbeing valuation assessment of the 42,800 visits made to the public festivals programme in 2018/19, this equates to £235,000 of social value accruing to those individuals across the year.

8.19 Public programming is combined with the sensitive integration of commercial activity across the site. As of 2019, there are now over 60 commercial partners on site, with 14 external restaurants, cafes and shops, 10 traders operating a book market, 26 mixed

62 Southbank Centre Annual Report, 2018/19 63 Southbank Centre ACE submission, 2017/18

Economic and Social Impact Assessment of The Southbank Centre

market traders in the winter, and 11 further pop-up businesses hosted on a seasonal basis.64 8.20 The Southbank Centre and its accessible public spaces also act as a natural congressional site through its informal ‘open foyer policy’. The site represents an open and inclusive space from 10am to 11pm daily for individuals, friends, social and other community groups to meet and spend time. As a result, the Southbank Centre now represents an important community hub within the wider neighbourhood, and its spaces are used by a variety of people including: professional workers, students, school groups, parent groups, language groups, graphic novel groups, artists, actors and dancers, homeless people, and families, friends and other social groups.

64 Please note that this is a pre-COVID list of partners and may no longer be accurate.

Economic and Social Impact Assessment of The Southbank Centre

9. Investing in Art and Artists

Key messages The Southbank Centre generates a series of positive spillover benefits on the wider cultural and creative industries ecosystem, through its work with artists, support of other institutions, and its wider lobbying and policy influencing work. • The Southbank Centre worked with over 100,000 artists and creatives in 2018/19. • Its talent development work stretches from professional diversity programmes to community and youth groups in residence. For example, in 2018/19, five women conductors were supported through the Women’s Conducting Masterclass, delivering an estimated £10,000 of social value. • The Southbank Centre manages the Arts Council Collection of loaned art works, and in 2018/19, over 1,650 works were shown in 126 different galleries and museums across the UK and internationally, reaching an audience of over 2.8 million people. • The Hayward Gallery Touring programme held exhibitions at 80 other institutions across the UK in 2018/19. • The Southbank Centre created a cross-organisation mentoring scheme in 2017, and last year had 80 participants from the Barbican, National Theatre, Royal Opera House, as well as the Southbank Centre.

A trusted partner in the sector

The Southbank Centre’s strategic commitment

9.1 The Southbank Centre is dedicated to using its position as a premier UK arts centre to support the wider arts and cultural sector. It does this through three key channels:

Southbank Centre's commitment to the arts ecosystem

Working with artists Working with Lobbying and •Supporting continued institutions influencing excellence in the arts, •Supporting smaller •Addressing public policy diverse artistic institutions, networking and and other arts and culture- programming and sharing expertise, sharing related issues, as a premier committed talent collections, and other UK institution. development and formal partnerships. showcasing.

Economic and Social Impact Assessment of The Southbank Centre

Working with artists

Diverse programming

9.2 The Southbank Centre’s artistic programming is wide-ranging and seeks to engage a diverse set of artists and performers. It is designed to engage and showcase the best art and artists from different cultures, “The range of programming from backgrounds and forms. This includes: different cultures offers different • programming a high proportion of perspectives on art, culture and international work. In 2018/19, this life. Truly unique when compared was most notably through the to other venues in London” Alchemy, Changing China, and Refugee Week festivals ~Audience feedback • showcasing art by amateurs, community groups and other non-professionals, including those from disadvantaged backgrounds. For example, its Art by Offenders exhibition is made up of artwork produced by offenders and people in secure settings, including patients in secure hospitals, young people in children’s homes and immigration centre detainees. In 2017, over 21,000 visits were made to the show. • working with a wide range of artistic partners to deliver this breadth of programme each year, including artist development partners, Associate Artists, community organisations in residence, direct commissions, and other special relationships. The case study below represents an Associate Artist partnership in action. 9.3 In 2018/19, the Southbank Centre worked with over 100,000 different artists and creatives and recent brand research carried out by Muse65 found that audiences has a positive perception of the Southbank Centre for its world class artists, high quality performances, and the diversity of its programming.

65 Muse Marketing Strategy, Qualitative Brand Research Debrief 2017

Economic and Social Impact Assessment of The Southbank Centre

9.9 It has raised an annual average of £1.24m over the last three years from Major Figure 9-2: Location of donors, patrons & sponsors Donors, Patrons, Supporters Circles and Audiences, nationally and internationally. 9.10 The Southbank Centre also works with over 70 trust and foundation supporters, raising an average of £167,000 per year. 69% of these organisations are UK- based, and the remaining 31% are based overseas.

Source: Southbank Centre data, 2017-2019

Appendix A - Approach to impact assessment

A.1 The study has focused on two broad categories of impact:

Economic Impact

A.2 The methods used in this economic impact assessment are standard for this type of assessment and have been informed by the principles set out in the HM Treasury’s Greenbook. Where it has been necessary to make assumptions in the assessment we have erred on the side of caution.

Impact Area

A.3 The assessment focuses on the economic contribution the Southbank Centre makes to the London (region) and UK (national) economies.

Measures of Economic Benefit

Direct A.4 Direct benefits refer to the on-site employment and associated economic value that is created by the Southbank Centre.

• Employment numbers have been sourced from the centre for the financial year 2018/19. These are reported as Full Time Equivalents jobs (FTEs). These have been separated by those employed by the Centre and those employed in pop-up stalls. • Gross Value Added (GVA) is a key measure of economic output. Estimating the GVA generated by organisations such as the Southbank Centre is more complex than for purely commercial businesses, given that they receive a large public subsidy. However, they do make GVA contribution that is recorded in the national accounts. Our approach to assessing direct GVA is consistent with the way the Office for National Statistics treatment of cultural organisations in the National Accounts. Here, GVA is measured as the sum of the compensation of employees and consumption of fixed capital.

Indirect A.5 Indirect benefits refer to the economic benefits supported by the Centre’s external operational and capital expenditure on goods and services. This expenditure supports employment and value added within the Centre’s immediate suppliers and within all subsequent tiers of the supply chain, as the Centre’s direct suppliers make purchases from their suppliers, and so on.

A.6 Expenditure data has been provided by the Centre for each branch. Information has been provided on the location of expenditure. We have used data from Companies House to allocate this expenditure to sectors, which has then been matched to those within the Hatch Regeneris input-output model for the UK Regions. The full economic benefits of this expenditure have then been estimated using our input-output model. The model is based on data from the UK National Accounts and allows us to estimate the supply chain multiplier effects from an initial injection of expenditure on a particular sector.

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Induced A.7 Induced benefits refer to the effects of spending by employees whose jobs are supported directly by the Centre and indirectly within the supply chain.

• Benefits from the spend of the Southbank Centre’s employees have been estimated using data on salaries provided by the Centre. These have then been adjusted for taxes, National Insurance, pension contributions and savings rates. Our input-output model has then been used to estimate the multiplier effects from this spending. • Benefits from the expenditure by employees in the supply chain have been estimated using the Type 2 (indirect and induced) multipliers within Hatch Regeneris’s input-output model.

Visitor Economy A.8 Visitor economy benefits refer to the benefits as a result of off-site visitor expenditure to the Centre. Impacts as a result of spend on-site (in the venues but not in the pop-up enterprises) are already taken into account with direct jobs and GVA supported at the Centre. Benefits from off-site visitor spend have been assessed in the following way:

• Data on visitor numbers to the Southbank Centre has been taken from ALVA. This covers:

◼ Ticketed visitors to the venues at Southbank (sold directly by the Southbank Centre)

◼ Visitors to other commercial events at the Southbank Centre that are sold by third party organisations (such as graduations and conferences)

◼ Free admission visitors to exhibitions and festivals. • Data on visitors’ origin, and whether they stay overnight, have been provided by the Centre, based on visitor surveys carried out on-site by ALVA. • Data on average spend on site at the Southbank Centre has been calculated based on data from the ALVA survey and the total number of visitors. • We have then looked at the total average spend data for (i) day visitors (GB Day Visitor Survey for visits to museums, 2018) and (ii) overnight visitors (GB Overnight Tourism survey, 2018, and the International Passenger Survey, 2018). All of these data sources provide spend figures for visitors London. • Subtracting on-site expenditure at the Southbank Centre from the total spend values from the GB Day/Overnight/International Passenger Survey data results in total off- site spend by visitors to the Centre. • We have then used data from the Southbank Centre’s ALVA visitor survey to determine how much of this spend can be attributed to their visit to the Centre. That is, how much is additional spend that would not otherwise have taken place. This takes account of the fact that some of the visitors (and hence their expenditure) would already have been in the region for other purposes. • We have applied this additional off-site expenditure to spend categories using the latest UK Tourism Satellite Accounts. A.9 This expenditure is then fed through our input-output model to estimate the total economic contribution of off-site visitor spend.

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Social Impact

A.10 This is the impact of the Southbank Centre, its projects and programmes on the lives of people and communities: whether working or volunteering at the sites themselves, visiting the centre, or participating in the many targeted initiatives that the Southbank Centre delivers and supports. While typically more intangible than economic impact, social impact can be quantified using a Subjective Wellbeing Valuation approach, which considers the intervention’s role in enhancing individuals’ subjective wellbeing.

A.11 Wellbeing valuation provides a methodology for quantifying how people value non-market goods. For example, the value that accrues to an individual as a result of increased confidence or enhanced social interaction. These things are important but are not commonly expressed or measured in monetary values. Our approach uses financial proxies from a range of sources to help determine wellbeing values:

• HACT community investment values from the Social Value Bank67 • DCMS reports on the wellbeing impacts of arts and culture and68, including health and educational benefits69 A.12 This methodology means that a specific financial proxy is selected for the wellbeing outcome being determined, such as engaging with arts and culture, general training, improved confidence, or feelings of belonging. Each financial proxy is different. This means that the highest impact is not necessarily achieved by the highest number of participants.

A.13 The method also accounts for deadweight (i.e. what would have been achieved anyway, regardless of the intervention).

A.14 This study has only applied wellbeing valuation to impacts experienced by adults, and therefore is likely an underestimation of the total impact being delivered by the Southbank Centre. This is because an intervention with high participation numbers made up predominantly of children will not have been included in the wellbeing impact calculations, even though there will be wellbeing impacts experienced by those under the age of 18.

67 https://www.hact.org.uk/social-value-bank 68 https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/304899/Quantifyi ng_and_valuing_the_wellbeing_impacts_of_sport_and_culture.pdf 69 https://assets.publishing.service.gov.uk/government/uploads/system/uploads/attachment_data/file/446273/Health_a nd_educational_benefits_of_sport_and_culture.pdf

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